Tag Archives: Laura U. Marks

100-fold increase in AI energy efficiency

Most people don’t realize how much energy computing, streaming video, and other technologies consume and AI (artificial intelligence) consumes a lot. (For more about work being done in this area, there’s my October 13, 2023 posting about an upcoming ArtSci Salon event in Toronto featuring Laura U. Marks’s recent work ‘Streaming Carbon Footprint’ and my October 16, 2023 posting about how much water is used for AI.)

So this news is welcome, from an October 12, 2023 Northwestern University news release (also received via email and on EurekAlert), Note: Links have been removed,

AI just got 100-fold more energy efficient

Nanoelectronic device performs real-time AI classification without relying on the cloud

– AI is so energy hungry that most data analysis must be performed in the cloud
– New energy-efficient device enables AI tasks to be performed within wearables
– This allows real-time analysis and diagnostics for faster medical interventions
– Researchers tested the device by classifying 10,000 electrocardiogram samples
– The device successfully identified six types of heart beats with 95% accuracy

Northwestern University engineers have developed a new nanoelectronic device that can perform accurate machine-learning classification tasks in the most energy-efficient manner yet. Using 100-fold less energy than current technologies, the device can crunch large amounts of data and perform artificial intelligence (AI) tasks in real time without beaming data to the cloud for analysis.

With its tiny footprint, ultra-low power consumption and lack of lag time to receive analyses, the device is ideal for direct incorporation into wearable electronics (like smart watches and fitness trackers) for real-time data processing and near-instant diagnostics.

To test the concept, engineers used the device to classify large amounts of information from publicly available electrocardiogram (ECG) datasets. Not only could the device efficiently and correctly identify an irregular heartbeat, it also was able to determine the arrhythmia subtype from among six different categories with near 95% accuracy.

The research was published today (Oct. 12 [2023]) in the journal Nature Electronics.

“Today, most sensors collect data and then send it to the cloud, where the analysis occurs on energy-hungry servers before the results are finally sent back to the user,” said Northwestern’s Mark C. Hersam, the study’s senior author. “This approach is incredibly expensive, consumes significant energy and adds a time delay. Our device is so energy efficient that it can be deployed directly in wearable electronics for real-time detection and data processing, enabling more rapid intervention for health emergencies.”

A nanotechnology expert, Hersam is Walter P. Murphy Professor of Materials Science and Engineering at Northwestern’s McCormick School of Engineering. He also is chair of the Department of Materials Science and Engineering, director of the Materials Research Science and Engineering Center and member of the International Institute of Nanotechnology. Hersam co-led the research with Han Wang, a professor at the University of Southern California, and Vinod Sangwan, a research assistant professor at Northwestern.

Before machine-learning tools can analyze new data, these tools must first accurately and reliably sort training data into various categories. For example, if a tool is sorting photos by color, then it needs to recognize which photos are red, yellow or blue in order to accurately classify them. An easy chore for a human, yes, but a complicated — and energy-hungry — job for a machine.

For current silicon-based technologies to categorize data from large sets like ECGs, it takes more than 100 transistors — each requiring its own energy to run. But Northwestern’s nanoelectronic device can perform the same machine-learning classification with just two devices. By reducing the number of devices, the researchers drastically reduced power consumption and developed a much smaller device that can be integrated into a standard wearable gadget.

The secret behind the novel device is its unprecedented tunability, which arises from a mix of materials. While traditional technologies use silicon, the researchers constructed the miniaturized transistors from two-dimensional molybdenum disulfide and one-dimensional carbon nanotubes. So instead of needing many silicon transistors — one for each step of data processing — the reconfigurable transistors are dynamic enough to switch among various steps.

“The integration of two disparate materials into one device allows us to strongly modulate the current flow with applied voltages, enabling dynamic reconfigurability,” Hersam said. “Having a high degree of tunability in a single device allows us to perform sophisticated classification algorithms with a small footprint and low energy consumption.”

To test the device, the researchers looked to publicly available medical datasets. They first trained the device to interpret data from ECGs, a task that typically requires significant time from trained health care workers. Then, they asked the device to classify six types of heart beats: normal, atrial premature beat, premature ventricular contraction, paced beat, left bundle branch block beat and right bundle branch block beat.

The nanoelectronic device was able to identify accurately each arrhythmia type out of 10,000 ECG samples. By bypassing the need to send data to the cloud, the device not only saves critical time for a patient but also protects privacy.

“Every time data are passed around, it increases the likelihood of the data being stolen,” Hersam said. “If personal health data is processed locally — such as on your wrist in your watch — that presents a much lower security risk. In this manner, our device improves privacy and reduces the risk of a breach.”

Hersam imagines that, eventually, these nanoelectronic devices could be incorporated into everyday wearables, personalized to each user’s health profile for real-time applications. They would enable people to make the most of the data they already collect without sapping power.

“Artificial intelligence tools are consuming an increasing fraction of the power grid,” Hersam said. “It is an unsustainable path if we continue relying on conventional computer hardware.”

Here’s a link to and a citation for the paper,

Reconfigurable mixed-kernel heterojunction transistors for personalized support vector machine classification by Xiaodong Yan, Justin H. Qian, Jiahui Ma, Aoyang Zhang, Stephanie E. Liu, Matthew P. Bland, Kevin J. Liu, Xuechun Wang, Vinod K. Sangwan, Han Wang & Mark C. Hersam. Nature Electronics (2023) DOI: https://doi.org/10.1038/s41928-023-01042-7 Published: 12 October 2023

This paper is behind a paywall.

The cost of building ChatGPT

After seeing the description for Laura U. Marks’s recent work ‘Streaming Carbon Footprint’ (in my October 13, 2023 posting about upcoming ArtSci Salon events in Toronto), where she focuses on the environmental impact of streaming media and digital art, I was reminded of some September 2023 news.

A September 9, 2023 news item (an Associated Press article by Matt O’Brien and Hannah Fingerhut) on phys.org and also published September 12, 2023 on the Iowa Public Radio website, describe an unexpected cost for building ChatGPT and other AI agents, Note: Links have been removed,

The cost of building an artificial intelligence product like ChatGPT can be hard to measure.

But one thing Microsoft-backed OpenAI needed for its technology was plenty of water [emphases mine], pulled from the watershed of the Raccoon and Des Moines rivers in central Iowa to cool a powerful supercomputer as it helped teach its AI systems how to mimic human writing.

As they race to capitalize on a craze for generative AI, leading tech developers including Microsoft, OpenAI and Google have acknowledged that growing demand for their AI tools carries hefty costs, from expensive semiconductors to an increase in water consumption.

But they’re often secretive about the specifics. Few people in Iowa knew about its status as a birthplace of OpenAI’s most advanced large language model, GPT-4, before a top Microsoft executive said in a speech it “was literally made next to cornfields west of Des Moines.”

In its latest environmental report, Microsoft disclosed that its global water consumption spiked 34% from 2021 to 2022 (to nearly 1.7 billion gallons , or more than 2,500 Olympic-sized swimming pools), a sharp increase compared to previous years that outside researchers tie to its AI research. [emphases mine]

“It’s fair to say the majority of the growth is due to AI,” including “its heavy investment in generative AI and partnership with OpenAI,” said Shaolei Ren, [emphasis mine] a researcher at the University of California, Riverside who has been trying to calculate the environmental impact of generative AI products such as ChatGPT.

If you have the time, do read the O’Brien and Fingerhut article in it entirety. (Later in this post, I have a citation for and a link to a paper by Ren.)

Jason Clayworth’s September 18, 2023 article for AXIOS describes the issue from the Iowan perspective, Note: Links have been removed,

Future data center projects in West Des Moines will only be considered if Microsoft can implement technology that can “significantly reduce peak water usage,” the Associated Press reports.

Why it matters: Microsoft’s five WDM data centers — the “epicenter for advancing AI” — represent more than $5 billion in investments in the last 15 years.

Yes, but: They consumed as much as 11.5 million gallons of water a month for cooling, or about 6% of WDM’s total usage during peak summer usage during the last two years, according to information from West Des Moines Water Works.

This information becomes more intriguing (and disturbing) after reading a February 10, 2023 article for the World Economic Forum titled ‘This is why we can’t dismiss water scarcity in the US‘ by James Rees and/or an August 11, 2020 article ‘Why is America running out of water?‘ by Jon Heggie published by the National Geographic, which is a piece of paid content. Note: Despite the fact that it’s sponsored by Finish Dish Detergent, the research in Heggie’s article looks solid.

From Heggie’s article, Note: Links have been removed,

In March 2019, storm clouds rolled across Oklahoma; rain swept down the gutters of New York; hail pummeled northern Florida; floodwaters forced evacuations in Missouri; and a blizzard brought travel to a stop in South Dakota. Across much of America, it can be easy to assume that we have more than enough water. But that same a month, as storms battered the country, a government-backed report issued a stark warning: America is running out of water.

As the U.S. water supply decreases, demand is set to increase. On average, each American uses 80 to 100 gallons of water every day, with the nation’s estimated total daily usage topping 345 billion gallons—enough to sink the state of Rhode Island under a foot of water. By 2100 the U.S. population will have increased by nearly 200 million, with a total population of some 514 million people. Given that we use water for everything, the simple math is that more people mean more water stress across the country.

And we are already tapping into our reserves. Aquifers, porous rocks and sediment that store vast volumes of water underground, are being drained. Nearly 165 million Americans rely on groundwater for drinking water, farmers use it for irrigation―37 percent of our total water usage is for agriculture—and industry needs it for manufacturing. Groundwater is being pumped faster than it can be naturally replenished. The Central Valley Aquifer in California underlies one of the nation’s most agriculturally productive regions, but it is in drastic decline and has lost about ten cubic miles of water in just four years.

Decreasing supply and increasing demand are creating a perfect water storm, the effects of which are already being felt. The Colorado River carved its way 1,450 miles from the Rockies to the Gulf of California for millions of years, but now no longer reaches the sea. In 2018, parts of the Rio Grande recorded their lowest water levels ever; Arizona essentially lives under permanent drought conditions; and in South Florida’s freshwater aquifers are increasingly susceptible to salt water intrusion due to over-extraction.

The focus is on individual use of water and Heggie ends his article by suggesting we use less,

… And every American can save more water at home in multiple ways, from taking shorter showers to not rinsing dishes under a running faucet before loading them into a dishwasher, a practice that wastes around 20 gallons of water for each load. …

As an advertising pitch goes, this is fairly subtle as there’s no branding in the article itself and it is almost wholly informational.

Attempts to stave off water shortages as noted in Heggie’s and other articles include groundwater pumping both for individual use and industrial use. This practice has had an unexpected impact according to a June 16, 2023 article by Warren Cornwall for Science (magazine),

While spinning on its axis, Earth wobbles like an off-kilter top. Sloshing molten iron in Earth’s core, melting ice, ocean currents, and even hurricanes can all cause the poles to wander. Now, scientists have found that a significant amount of the polar drift results from human activity: pumping groundwater for drinking and irrigation.

“The very way the planet wobbles is impacted by our activities,” says Surendra Adhikari, a geophysicist at NASA’s Jet Propulsion Laboratory and an expert on Earth’s rotation who was not involved in the study. “It is, in a way, mind boggling.”

Clark R. Wilson, a geophysicist at the University of Texas at Austin, and his colleagues thought the removal of tens of gigatons of groundwater each year might affect the drift. But they knew it could not be the only factor. “There’s a lot of pieces that go into the final budget for causing polar drift,” Wilson says.

The scientists built a model of the polar wander, accounting for factors such as reservoirs filling because of new dams and ice sheets melting, to see how well they explained the polar movements observed between 1993 and 2010. During that time, satellite measurements were precise enough to detect a shift in the poles as small as a few millimeters.

Dams and ice changes were not enough to match the observed polar motion. But when the researchers also put in 2150 gigatons of groundwater that hydrologic models estimate were pumped between 1993 and 2010, the predicted polar motion aligned much more closely with observations. Wilson and his colleagues conclude that the redistribution of that water weight to the world’s oceans has caused Earth’s poles to shift nearly 80 centimeters during that time. In fact, groundwater removal appears to have played a bigger role in that period than the release of meltwater from ice in either Greenland or Antarctica, the scientists reported Thursday [June 15, 2023] in Geophysical Research Letters.

The new paper helps confirm that groundwater depletion added approximately 6 millimeters to global sea level rise between 1993 and 2010. “I was very happy” that this new method matched other estimates, Seo [Ki-Weon Seo geophysicist at Seoul National University and the study’s lead author] says. Because detailed astronomical measurements of the polar axis location go back to the end of the 19th century, polar drift could enable Seo to trace the human impact on the planet’s water over the past century.

Two papers: environmental impact from AI and groundwater pumping wobbles poles

I have two links and citations for Ren’s paper on AI and its environmental impact,

Towards Environmentally Equitable AI via Geographical Load Balancing by Pengfei Li, Jianyi Yang, Adam Wierman, Shaolei Ren. Subjects: Artificial Intelligence (cs.AI); Computers and Society (cs.CY) Cite as: arXiv:2307.05494 [cs.AI] (or arXiv:2307.05494v1 [cs.AI] for this version) DOI: https://doi.org/10.48550/arXiv.2307.05494 Submitted June 20, 2023

Towards Environmentally Equitable AI via Geographical Load Balancing by Li, Pengfei; Yang, Jianyi; Wierman, Adam; Ren, Shaolei. UC Riverside. Retrieved from https://escholarship.org/uc/item/79c880vf Publication date: 2023-06-27

Both links offer open access to the paper. Should you be interested in more, you can find Shaolei Ren’s website here.

Now for the wobbling poles,

Drift of Earth’s Pole Confirms Groundwater Depletion as a Significant Contributor to Global Sea Level Rise 1993–2010 by Ki-Weon Seo, Dongryeol Ryu, Jooyoung Eom, Taewhan Jeon, Jae-Seung Kim, Kookhyoun Youm, Jianli Chen, Clark R. Wilson. Geophysical Research Letters Volume 50, Issue 12, 28 June 2023 e2023GL103509 DOI: https://doi.org/10.1029/2023GL103509 First published online: 15 June 2023

This paper too is open access.

Toronto’s ArtSci Salon hosts October 16, 2023 and October 27, 2023 events and the Fourth Annual Small File Media Festival in Vancouver (Canada) Oct. 20 – 21, 2023

An October 5, 2023 announcement (received via email) from Toronto’s ArtSci Salon lists two events coming up in October 2023,

These two Events are part of the international Leonardo LASER series
LASER Toronto is hosted by Nina Czegledy and Roberta Buiani

The Anthropocene Cookbook on October 16, 2023

[downloaded from: https://artscisalon.com/coms4208/]

From the Toronto ArtSci Salon October 5, 2023 announcement,

Oct 16 [2023], 3:30 PM [ET] 
The Anthropocene cookbook

with authors 
Zane Cerpina & Stahl Stenslie
Cerpina and Stenslie are the authors of
The Anthropocene Cookbook. How to survive in the age of catastrophes 

Join us to welcome Cerpina and Stenslie as they introduce us to their
book and discuss the future cuisine of humanity. To sustain the
soon-to-be 9 billion global population we cannot count on Mother
Earth’s resources anymore. The project explores innovative and
speculative ideas about new foods in the field of arts, design, science
& technology, rethinking eating traditions and food taboos, and
proposing new recipes for survival in times of ecological catastrophes.

To match the topic of their talk, attendees will be presented with
“anthropocene snacks” and will be encouraged to discuss food
alternatives and new networks of solidarity to fight food deserts,
waste, and unsustainable consumption.

This is a Hybrid event: our guests will join us virtually on zoom.
Join us in person at Glendon Campus, rm YH190 (the studio next to the
Glendon Theatre) for a more intimate community experience and some
anthropocene snacks. If you wish to join us on Zoom, please

register here

This event is part of a series on Emergent Practices in Communication,
featuring explorations on interspecies communication and digital
networks; land-based justice and collective care. The full program can be found here

This initiative is supported by York University’s Teaching Commons Academic Innovation Fund

Zane Cerpina is a multicultural and interdisciplinary female author,
curator, artist, and designer working with the complexity of
socio-political and environmental issues in contemporary society and in
the age of the Anthropocene. Cerpina earned her master’s degree in
design from AHO – The Oslo School of Architecture and Design and a
bachelor’s degree in Art and Technology from Aalborg University. She
resides in Oslo and is a project manager/curator at TEKS (Trondheim
Electronic Arts Centre). She is also a co-founder and editor of EE:
Experimental Emerging Art Journal. From 2015 to 2019, Cerpina was a
creative manager and editor at PNEK (Production Network for Electronic
Art, Norway).

Stahl Stenslie works as an artist, curator and researcher specializing
in experimental media art and interaction experiences. His aesthetic
focus is on art and artistic expressions that challenge ordinary ways of
perceiving the world. Through his practice he asks the questions we tend
to avoid – or where the answers lie in the shadows of existence.
Keywords of his practice are somaesthetics, unstable media,
transgression and numinousness. The technological focus in his works is
on the art of the recently possible – such as i) panhaptic
communication on Smartphones, ii) somatic and immersive soundspaces, and
iii) design of functional and lethal artguns, 3D printed in low-cost
plastic material.He has a PhD on Touch and Technologies from The School
of Architecture and Design, Oslo, Norway. Currently he heads the R&D
department at Arts for Young Audiences Norway.

If you’re interested in the book, there’s the anthropocenecookbook.com, which has more about the book and purchase information,

The Anthropocene Cookbook is by far the most comprehensive collection of ideas about future food from the perspective of art, design, and science. It is a thought-provoking book about art, food, and eating in the Anthropocene –The Age of Man– and the age of catastrophes.

Published by The MIT Press [MIT = Massachusetts Institute of Technology]
| mitpress.mit.edu

Supported by TEKS
Trondheim Electronic Arts Centre
| www.teks.no

*Date changed* Streaming Carbon Footprint on October 27, 2023

Keep scrolling down to Date & location changed for Streaming Carbon Footprint subhead.

From the Toronto ArtSci Salon October 5, 2023 announcement,

Oct 27, [2023] 5:00-7:00 PM  [ET]
Streaming Carbon Footprint

with 
Laura U. Marks
and
David Rokeby

Room 230
The Fields Institute for Research in Mathematical Sciences
222 College Street, Toronto

We are thrilled to announce this dialogue between media Theorist Laura U. Marks and Media Artist David Rokeby. Together, they will discuss a well known elephant in the room of media and digital technologies: their carbon footprint. As social media and streaming media usage increases exponentially, what can be done to mitigate their impact? are there alternatives?

This is a live event: our guests will join us in person.

if you wish to join us on Zoom instead, a link will be circulated on our website and on social media a few days before the event. The event will be recorded

Laura U. Marks works on media art and philosophy with an intercultural focus, and on small-footprint media. She programs experimental media for venues around the world. As Grant Strate University Professor, she teaches in the School for the Contemporary Arts at Simon Fraser University in Vancouver, Canada. Her upcoming book The Fold: From Your Body to the Cosmos will be published I March 2024 by Duke University Press. 

David Rokeby is an installation artist based in Toronto, Canada. He has been creating and exhibiting since 1982. For the first part of his career he focussed on interactive pieces that directly engage the human body, or that involve artificial perception systems. In the last decade, his practice has expanded to included video, kinetic and static sculpture. His work has been performed / exhibited in shows across Canada, the United States, Europe and Asia.

Awards include the first BAFTA (British Academy of Film and Television Arts) award for Interactive Art in 2000, a 2002 Governor General’s award in Visual and Media Arts and the Prix Ars Electronica Golden Nica for Interactive Art 2002. He was awarded the first Petro-Canada Award for Media Arts in 1988, the Prix Ars Electronica Award of Distinction for Interactive Art (Austria) in 1991 and 1997.

I haven’t been able to dig up any information about registration but it will be added here should I stumble across any in the next few weeks. I did, however, find more information about Marks’s work and a festival in Vancouver (Canada).

Fourth Annual Small File Media Festival (October 20 -21, 2023) and the Streaming Carbon Footprint

First, let’s flip back in time to a July 27, 2021 Simon Fraser University (SFU) news release (also published as a July 27, 2021 news item on phys.org) by Tessa Perkins Deneault,

When was the last time you watched a DVD? If you’re like most people, your DVD collection has been gathering dust as you stream movies and TV from a variety of on-demand services. But have you ever considered the impact of streaming video on the environment?

School for the Contemporary Arts professor Laura Marks and engineering professor Stephen Makonin, with engineering student Alejandro Rodriguez-Silva and media scholar Radek Przedpełski, worked together for over a year to investigate the carbon footprint of streaming media supported by a grant from the Social Sciences and Humanities Research Council of Canada.

“Stephen and Alejandro were there to give us a reality check and to increase our engineering literacy, and Radek and I brought the critical reading to it,” says Marks. “It was really a beautiful meeting of critical media studies and engineering.”

After combing through studies on Information and Communication Technologies (ICT) and making their own calculations, they confirmed that streaming media (including video on demand, YouTube, video embedded in social media and websites, video conferences, video calls and games) is responsible for more than one per cent of greenhouse gas emissions worldwide. And this number is only projected to rise as video conferencing and streaming proliferate.

“One per cent doesn’t sound like a lot, but it’s significant if you think that the airline industry is estimated to be 1.9 per cent,” says Marks. “ICT’s carbon footprint is growing fast, and I’m concerned that because we’re all turning our energy to other obvious carbon polluters, like fossil fuels, cars, the airline industry, people are not going to pay attention to this silent, invisible carbon polluter.”

One thing that Marks found surprising during their research is how politicized this topic is.

Their full report includes a section detailing the International Energy Association’s attack on French think tank The Shift Project after they published a report on streaming media’s carbon footprint in 2019. They found that some ICT engineers state that the carbon footprint of streaming is not a concern because data centres and networks are very efficient, while others say the fast-rising footprint is a serious problem that needs to be addressed. Their report includes comparisons of the divergent figures in engineering studies in order to get a better understanding of the scope of this problem.

The No. 1 thing Marks and Makonin recommend to reduce streaming’s carbon footprint is to ensure that our electricity comes from renewable sources. At an individual level, they offer a list of recommendations to reduce energy consumption and demand for new ICT infrastructure including: stream less, watch physical media including DVDs, decrease video resolution, use audio-only mode when possible, and keep your devices longer—since production of devices is very carbon-intensive.    

Promoting small files and low resolution, Marks founded the Small File Media Festival [link leads to 2023 programme], which will present its second annual program [2021] of 5-megabyte films Aug. 10 – 20. As the organizers say, movies don’t have to be big to be binge-worthy.

Learn more about Marks’ research and the Small File Media Festival: https://www.sfu.ca/sca/projects—activities/streaming-carbon-footprint.html

And now for 2023, here’s a video promoting the upcoming fourth annual festival,

The Streaming Carbon Footprint webpage on the SFU website includes information about the final report and the latest Small File Media Festival. Although I found the Small File Media Festival website also included a link for purchasing tickets,

The Small File Media Festival returns for its fourth iteration! We are delighted to partner with The Cinematheque to present over sixty jewel-like works from across the globe. These movies are small in file size, but huge in impact: by embracing the aesthetics of compression and low resolution (glitchiness, noise, pixelation), they lay the groundwork for a new experimental film movement in the digital age. This year, six lovingly curated programs traverse brooding pixelated landscapes, textural paradises, and crystalline infinities.

TICKETS AND FESTIVAL INFO

Join us Friday, October 20 [2023] for the opening-night program followed by a drinks reception in the lobby and a dance party in the cinema, featuring music by Vancouver electronic artist SAN. We’ll announce the winner of the coveted Small-File Golden Mini Bear during Saturday’s [October 21, 2023] award ceremony! As always, the festival will stream online at small​file​.ca after the live events.

We’re most grateful to our future-forward friends at the Social Sciences and Humanities Research Council of Canada, Canada Council for the Arts, and SFU Contemporary Arts. Thanks to VIVO Media Arts, Cairo Video Festival, and The Hmm for generous distribution and exhibition awards, and to UKRAïNATV, a partner in small-file activism.

Cosmically healthy, community-building, and punk AF, small-file ecomedia will heal the world, one pixel at a time.

TICKETS

There we have it. And then, we didn’t

*Date & location change* for Streaming Carbon Footprint event

From an October 27, 2023 ArtSci Salon notice,

Nov 7, [2023] 5:00-7:00 PM 
Streaming Carbon Footprint

with 
Laura U. Marks
and
David Rokeby
 

Tuesday, November 7 [2023]
5:00-7:00 pm
The BMO Lab
15 King’s College Circle, room H-12
Toronto, Ontario M5S 3H7

Good luck to the organizers. It must have been nervewracking to change the date so late in the game.

Toronto’s ArtSci Salon in Vancouver (Canada) and Venice (Italy)

In addition to the June 22 – July 16, 2022 exhibition in Toronto (These are a Few of Our Favourite Bees) highlighted in my June 14, 2022 posting, the ArtSci Salon has sent a June 20, 2022 announcement (received via email) about two events taking place for the first time in venues outside of Toronto,

IN VANCOUVER

A LIGHT FOOTPRINT IN THE COSMOS

SYMPOSIUM, EXHIBITIONS, PERFORMANCES, AND SCREENINGS

JUNE 24 – 27, 2022 | IN-PERSON AND ONLINE
DJAVAD MOWAFAGHIAN WORLD ART CENTRE
SFU GOLDCORP CENTRE FOR ARTS,
149 W. HASTINGS ST., VANCOUVER AND OTHER VENUES

REGISTRATION ON A SLIDING FEE SCALE.
IN-PERSON REGISTRATION INCLUDES CATERED LUNCHES AND COFFEE BREAKS AND
ADMISSION TO PERFORMANCES AND SCREENINGS.



A Light Footprint in the Cosmos is a celebration of research methods
and intercultural dialogue elaborated by the Substantial Motion Research
Network (SMRN).

Inspired by 17th–century Persian process philosopher Sadr al-Dīn
al-Shīrāzī, Azadeh Emadi and Laura U. Marks founded SMRN in 2018
for scholars and practitioners interested in cross-cultural exploration
of digital media, art and philosophy. Sadra famously stated that  each
individual is “a multiplicity of continuous forms, unified by the
essential movement itself,” which describes how SMRN’s members inform
each other’s practice and how those practices weave across artistic
and scholarly work. Our collective method unfolds hidden connections:
researching histories of media in world cultures, tracing paths of
transmission, seeking models for media in world philosophies, studying
vernacular practices, cultivating cultural openness, developing hunches,
building imaginative and fabulative connections, and diagramming the
processes of unfolding and enfolding. We fold South, Central, and East
Asian, Persian, Arab, North and sub-Saharan African and African
diaspora, Eastern European, and global Indigenous practices into
contemporary media and thought. Our light footprint lies in seeking
appropriate technological solutions, often from non-Western and
traditional practices, to contemporary overbuilt digital
infrastructures.

Celebrating the substantial motion of thought and/as creative practice,
A Light Footprint in the Cosmos will feature presentations by 60
scholars and artists, delivered both online and in person, at the
acoustically sophisticated performance venue Djavad Mowafaghian World
Art Centre.

The exhibitions, performances, and curated film screenings are integral
to the event. We are delighted to present exhibitions of works of 17
artists, curated by Nina Czegledy and hosted by Vancouver contemporary
art venues Or Gallery and Centre A: Vancouver International Centre for
Contemporary Asian Art, and Studio T at SFU’s Goldcorp Centre for the
Arts. The artworks explore, via a wide variety of analogue and digital
media, the global circulation and connectivity of theories and
technologies, addressing both historical inspirations and contemporary
issues. They illuminate hidden connections and reveal diverse yet
complementary concepts and practices. The musical performances literally
draw breath from deep cultural sources. SMRN’s methods extend into the
curated screenings Cinema of Breath: Rapture, Rupture and Cosmological Diagrams.

A Light Footprint in the Cosmos affirms the substantial movement of
thought and practice by seeking to stage dialogues, provoke discussion
and spark new collaborations in order to decolonize media studies, art
history and aesthetics.

          IN VENICE (ITA)

Emergent [emphasis mine]

a post pandemic mobile gallery

Part 1

Megachile Alienus
Sala Camino
Fondazione Bevilacqua la Masa
Venezia

June 22-25, 2022

Opening June 22, 18:30

Emergent is a mobile gallery featuring collaborations across the
sciences and the arts. Its goal is to better comprehend and cope with
the emergence, survival, and adaptation of life due to climate change
and global mobility, laboratory manipulations and world making.

Emergent is a porous object: it encourages reflections across different
experiences and sites of divergence through and with the arts; it may
reach new human and non-human audiences, and have a transformative
effect on the places it visits.

Emergent is a postpandemic gallery interrogating the role of exhibition
spaces today. What possible experiences, what new dialogues could a
redesign of the gallery as a living, breathing entity foster?

Emergent was
Designed and executed by
Roberta Buiani
Lorella Di Cintio
Ilze Briede [Kavi]

Fabrication:
Rick Quercia

Megachile Alienus is an Installation by
Cole Swanson

Scientific collaboration:
Laurence Packer

Fabrication for installation:
Jacob Sun

Thanks to:
Alessandro Marletta
Anna Lisa Manini

Steven Baris, Never the Same Space Twice D29 (oil on Mylar, 24 x 24 inches, 2022). [downloaded from https://www.sfu.ca/sca/events—news/events/a-light-footprint-in-the-cosmos.html?mc_cid=f826643d70&mc_eid=584e4ad9fa]

You can find more details and a registration link here at SFU’s “A Light Footprint in the Cosmos” event page.

[downloaded from https://artscisalon.com/post-p/]

You can find more details about Emergent in Venice here.